Review by Thomas Gregory
When I first read the title of Kate O'Sullivan’s one-woman show, my mind went immediately on the offensive. Despite thinking myself progressive, I still am a man, and a man who loves the art and the industry of theatre. What about Lady Macbeth? Or Evita Peron? It took a moment before I realised what I was doing… the same thing O’Sullivan quickly points out in her show. I was listing women written for men. Characters for whom their most important trait is often “woman”. Mistresses, Mothers, and the occasional witch. Even in shows with female protagonists, the gender inequality in cast and crew can be staggering.
Quite early in this show, the numbers come out. Women have won so few Tonys, even despite the award’s namesake. How few characters in any famous show are written for women? and how even fewer shows are run by them? While the conclusion, that there is serious gender inequality in professional theatre, is a surprise to no one, O’Sullivan points out it is no different at a local level, especially with how “popular theatre” is the go-to for so many amateur companies. Even Moulin Rouge has more male-coded characters than female!
Of course, forgive me if I have made this show sound like a lecture. It isn’t. In fact, most of All the Best Roles Are Written for Men is spent enjoying a wide variety of show tunes - popular favourites that even this musical heathen recognised. O’Sullivan has a fantastic voice and wonderfully comedic stage presence that brings these songs to life, sometimes even letting you forget for a moment the very significance of the selection for the night. Because why is it that Leo Bloom isn’t Lucille? And why was Ethel Merman the second person to sing “There’s no business like show business”? While our toes are tapping and we try hard not to sing loudly along, we are also reminded… why should it still stand out when it is a woman at centre stage?
It is a little disappointing that O’Sullivan doesn’t take her exploration further. While her own studies into Western Australian theatre are commendable, and her willingness to applaud recent Australian improvements shows a distinct lack of bitterness in this production, it is a tad disappointing that little time is spent on that trickier question - Why? Why do we still struggle, as ten women attend auditions for every man? Is there a way to improve things while those who dish out arts funding get their acts together? Or are we trapped and beholden to those above?
All the Best Roles Are Written for Men is a conversation that we should all be having, and to have it while enjoying some wonderful music from a talented performer has to be one of the best ways to do it. While it could be a far more challenging experience, perhaps it is enough to be reminded that we can do better.
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